In he returned to Japan (Tokyo), where he has lived ever since. Ishimoto showed his devotion to his adopted city, Chicago, in his book, Chicago, Chicago (Bijutsu Shuppan-sha, ). This book is often regarded as Ishimoto's most personal statement - his bold use of contrast, the design of the frame, and the influence of his studies in architecture define his Chicago. Ishimoto has published many books and exhibited widely throughout Japan and the US. In he was the subject of a career retrospective at the Art Institute of Chicago. [via ]
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Halloween, Chicago,
Halloween, Chicago,
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Yasuhiro Ishimoto: Lines and Bodies
Author: Diane Dufour (ed.)
This monograph allows us to rediscover the work of a photographer who published very little during his lifetime. The singularity of his vision and his work on the motif, which sometimes went as far as abstraction, made Ishimoto a key figure in the art world. Street scenes, portraits of children dressed up for Halloween, billboards, building facades in working-class neighborhoods: his images testify to his mastery of framing as well as his sensitive perception of textures and motifs. Four fold-outs featuring the photographer's iconic series punctuate this publication. These include the Chicago, Beach series, in which the legs of beachgoers together create a graphic, infinite composition; and Kyoto, Katsura, one of Ishimoto's most emblematic series, which captures details of the Japanese villa - its streamlined structure, its gardens and stone to's work combines the formal approach of Chicago's New Bauhaus with the quintessence of Japanese aesthetics. Widely considered an outsider by his peers, he brought a formalist perspective to the Japanese photographic scene of the ved in close collaboration with the Ishimoto
Ishimoto
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Human forms and bodies are also core to Ishimoto’s photography, both as a central subject and as an absent presence. Photographs of street scenes often feature figures in motion, captured in fleeting moments, presenting a sense of anonymity amidst the rush of city life. The movement of individuals implies a constant dispersal and an erasure of singular identity in cities. However, Ishimoto is able to maintain a sense of anonymity in his photographs even when bodies are in repose. In the Chicago, Beach series, the human body is depicted with a mix of abstraction and intimacy, capturing moments of relaxation, play, and interaction. The bodies are often framed in close-up or fragmented compositions, the focus on individual limbs or torsos, which offers them a sculptural quality. Form, light, and shade partially obscure identities and expressions. The celebration of the human body simultaneously evokes a sense of vulnerability and the fleeting presence of each individual.
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